Bringin music theory to life using notation software

When I tentatively began a more serious study of music in my second year of university, oddly enough it was the music theory course that cemented my new path in life. I am saddened when I hear peers and students groaning about the rules and difficulties of music theory--whether it is species counterpoint, or the hidden fifths that they keep finding in their assignments. While I am adept and in awe of mathematics, for myself the appeal and wonder of music theory is in the opportunities for creative expression that the subject allows. In my view the proper study of music theory demands creative engagement. Analysis, memorization and imitation are tasks that we can program any computer to do, and humans by in large prefer not to function as machines.

The trend in the professional music world is toward desktop publishing by use of music notation software. In the last decade huge advances have been made in the functionality and adaptability of such software, with many different packages available to fit the needs of an individual musician. This trend is having a direct impact on the way music theory is taught from elementary through middle school , secondary school and university. I myself was hooked in 2002 when working with Finale 2000 to submit my assignments for my first-year university music theory course.

Considering the current trend and the ever-increasing access of young persons to music technologies for creating, composing, recording, mixing, and publishing, our high school bands need to work hard to integrate these technologies in ways that both complement our program goals and engage and form young musicians.

Exciting things are happening already in music classrooms. Anderson (2005) tells of elementary students interacting internationally with creations made with GarageBand (p.14). And Christopher Ward (2009) has grade 7 and 8 students doing multitrack signal processing with Portastudios, grade 9 students making video with synchronized MIDI and audio track through Cubase, and grade 10 and 11 students composing using imported and recorded samples which they manipulate and compile in Wavelab and Cubase (p. 157).

All these trends rely on the presence of at least one digital audio workstation (DAW) in the band classroom. The main components of a DAW are a computer, analog to digital converter (sound card), a microphone, speakers, and some form of piano-style keyboard input (either MIDI or USB). Most stations will also include a set of noise-reducing studio headphones. Of crucial importance is the software installed on the computer.

There are several categories of software available for the DAW. The first group of software is created to help students gain proficiency in practising their instrument with accompaniment. Band in a Box is a good example, able to generate accompaniments in many styles from country to jazz, or to play back accompaniments entered in score or lead-sheet style into the program. A second group of software is for recording, mixing and sound production. Audacity, GarageBand and Cubase are a good place to begin. Finally, programs which began as notation publishing software have now begun to incorporate these features as well. The most commonly used examples are from the Sibelius and Finale families of products. For the rest of this post, the focus will be on these notation software programs and how they can enhance the study of music theory.

One way to investigate the advantages of notation softwares is to investigate them through the lens of Marshall McLuhan's four laws for technology. The laws are as follows:

1) How does the technology enhance the human experience?

2) What existing technologies does the new technology obsolesce?

3) What previously obsolesced technologies does the new technology retrieve relevant ideas or practises from?

4) At the extreme of applying this new technology, into what will it reverse?

On the first question, notation softwares remove barriers to beginning composers. Students who may not be adept at the piano, can now score and hear more notes played back at a greater level of proficiency than the human hands can play. Christopher Ward (2009) explains these advantages, "Since the composer can hear the piece as it is being invented, the creative process is made transparent. Pupils are motivated to continue by instant feedback, and can capitalize on spontaneous and accidental action. I suggest that ‘musical elitism’ in the classroom from the classically trained instrumentalist vanishes under the weight of democratic creation with professional results" (p. 155). An additional advantage is the possibility of using the copy & paste functions to replicate a section of music instantly saving time over the old method of writing out music with pencil and paper. This allows for easy transposition and providing the opportunity to create several variations on a phrase and hearing them played back before choosing one.

It quickly become obvious that programs like Finale 2011 and Sibelius 6 have largely obsolesced composition at the piano with pencil and paper. Of course it must be mentioned that composing in one's head, or quickly writing an idea on a piece of paper or recording it with a micro-cassette recorder will never be obsolesced as long as humans find themselves away from computers for any length of time during the day. Still, why compose at a piano when you could compose in front of a virtual symphony orchestra, rock band, brass ensemble or any configuration of your choice? And here we have arrived at the answer to what this technology retrieves. No longer is it the case that only the elite composer has a ensemble at hand to test their compositions. Now every composer has any ensemble of their choice at their immediate disposal to play back their composition.

Finally we must ask what the pitfalls of this new technology are. We might be concerned that these notation programs will make possible the flooding of the market with beginner level compositions of dubious quality. On the other hand, one might wonder if students will still develop the aural skills to compose without the aid of computers or instruments by simple use of the human voice.

To close, consider a few ways these notation programs can be used in the band classroom:

1) to teach music theory.

For example: by projecting the program students can see and hear a scale played by and instrument or an interval played by two instruments while watching the score.

2) to provide students a medium for creating professional looking weekly assignments

3) to encourage creativity and composition

For a good introduction to several music notation programs, how they function and what they offer, see pages 357 through 396 of Williams, David Brian, & Webster, Peter Richard (2008). Experiencing Music Technology, Updated Third Edition. Boston: Schirmer Cengage Learning. Experiencing music Technology.